Postage Stamps

Dan Piazza, Chief Curator of Philately at the National Postal Museum, was recently interviewed by ABC News as part of their behind-the-scenes at the museum series. The National Postal Museum showcased several items from deep within our vault, all centered on the theme of baseball. ABC’s Rick Klein, a devoted baseball enthusiast, and Piazza had a lively conversation on the history and significance of the objects. The backdrop for the interview was fittingly the baseball section of our New York City: A Portrait through Stamp Art exhibition, which is on view at the museum through March 2017.

Speaking of baseball…congrats to all the Cubs fans out there on an amazing season and series! Cleveland, keep your heads up – you put up a fine fight! At any rate, thanks to both teams for one of the greatest games of all time.

Ansel Adams in Yosemite National Park, circa 1950. Photo courtesy of the National Park Service.

The National Postal Museum’s newest exhibition “Trailblazing: 100 Years of Our National Parks” is filled with amazing artifacts telling the story of our National Parks and its relations to the history of the United States Postal Service and philately. One of the objects chosen for the exhibition is the stamp album once belonging to famous photographer, Ansel Adams. Because of Adams’ portrayal of the natural world and National Parks in his photographs, having his stamp collection in the “Trailblazing” exhibition was a great fit. The curators wanted to display the album open to show the colorful and expressive array of stamps Adams had collected; but, before that could be done, the album needed conservation treatment.

The National Postal Museum (NPM) worked with the Smithsonian Institution Libraries, utilizing their expertise to ensure the album received proper treatment. Conservator Katie Wagner performed the work on Ansel Adams’ stamp album. The treatments included consolidating and relining the spine of the album so it could be safely displayed open in the exhibition. NPM preservation staff visited Katie at the library lab while she was removing the original paper and adhesive from the spine in order to document the process. She uses methyl cellulose to break down the adhesive to make it easier to remove, while being careful to only remove a small portion at a time so the folios underneath are not damaged. Part of the conservation treatment is to add a new spine-lining fabric before putting the original album cover back on.

Original album cover with Ansel Adams' signature set aside to be reattached after the spine is consolidated and relined.

You can view a video of the whole process here:

Once treatment was complete, NPM Preservation staff returned to SI Libraries’ conservation lab to collect the album. We are extremely happy with the results and appreciative of all the hard work put into the project by the SI Library conservators –especially Katie Wagner! Visitors can enjoy the album by visiting the “Trailblazing” exhibition at the National Postal Museum!

The Macy’s Thanksgiving Day Parade® is one of the most iconic annual parades in American cultural lore. This New York City parade -- complete with a myriad of giant balloons, dancers, floats, cheerleaders, marching bands, clowns and celebrity performers and, of course, Santa Claus ushers in America’s holiday spending season. The first Macy’s parade took place on Christmas Day in 1924 and served as a means to attract customers to the Macy’s store in New York City. For this inaugural parade Macy’s employees (of whom many were immigrants) dressed as clowns, cowboys and assorted fun characters, and the parade included animals borrowed from the Central Park Zoo. Approximately 250,000 people attended this parade. In 1927, Macy’s parade organizers began using giant balloons, starting with the introduction of Felix the Cat, instead of live animals. Now the 89th Annual Macy’s Thanksgiving Day Parade® will attract 3.5 million spectators and will entertain more than 50 million television viewers. The three-hour Thanksgiving Day TV show has received at least twelve Emmy Awards for Outstanding Achievement since 1979.

To commemorate this memorable parade, the United States Postal Service (USPS) on September 9, 2009 issued a horizontal strip of four se-tenant stamps (a philatelic term describing an attached pair, strip or block of stamps that differ in design, color or denomination) reminiscent of a typical Thanksgiving Day Parade. Because of USPS policy restricting the promotion of commercial businesses when stamps are issued, these stamps did not identify Macy’s as a corporate sponsor of the parade nor acknowledge the commercial origins of the parade, Also the very term -- Macy’s Thanksgiving Day Parade ® -- is a registered trademark owned by Macy’s. Ironically, Macy’s actually proposed and campaigned for the stamp and provided posters and other developmental artwork to consider during the stamp’s design phase. Macy’s even took the highly unusual step of paying for a full page ad in the New York Times announcing the stamps’ issuance, and hosting the first day of issue ceremony at its Herald Square store.

Each stamp in the set contains separate characters; viewing from left to right, the first stamp depicts crowds, a giant balloon depicting a bear, and a street sign marking the intersection of 45th and Broadway where Macy’s floats and parade participants pass. The second stamp shows a drum major and band musicians. The third stamp shows additional musicians, a giant balloon and a horse. The fourth and final stamp depicts a cowboy, turkey balloon, parade watchers and a television cameraman. Credit: United States Postal Service

Howard Paine, the USPS art director, selected Paul Rogers to design the stamps. He selected Rogers for this project because of Rogers’ artistic style and use of bold and eye-catching colors. Collaborating with Paine, he designed four stamps that could be independent of each other yet together would provide a panoramic and colorful view of a Thanksgiving Day Parade. Rogers first did pencil sketches of the four-stamp set, then filled in the color. Some scenes were airbrushed on paper, scanned for final design, assembled, and edited using Adobe Illustrator software. Rogers’ final artwork for the stamp set did not disappoint. His design captured a lively and colorful look of a memorable scene from a typical Thanksgiving Day Parade in New York City.

The beautiful final proof used to produce the stamp will be on display in the upcoming National Postal Museum exhibition titled "New York City: A Portrait Through Stamp Art" scheduled for December 10, 2015 - March 13, 2017.

This image represents the final artwork used to produce the stamp. Paul Rogers based his computer-generated design on American advertising and poster art from the mid-20th Century. The se-tenant set of four stamps was issued in a group of five strips on a pane of 20 stamps. The US printer contractor, Avery Dennison, printed 40,000,000 stamps. Credit: Image from the United States Postal Service, Postmaster General’s Collection.

The USPS issued a digital design for one of the postmark cancellations. The postmark included bold colors and an image consistent with the stamp design. Credit: United States Postal Service

The Smithsonian’s National Postal Museum is unveiling an exhibition of original artwork Dec. 10 titled, “New York City: A Portrait Through Stamp Art.” On display through Mar. 13, 2017, 30 pieces of original artwork will be publicly displayed for the first time, celebrating the influence of New York City on American society.

MERENGUE Let’s Dance Stamp Art

The artwork is part of the Postmaster General’s Collection, which includes more than 5,000 original pieces of art commissioned by the U.S. Postmasters General for stamps issued during a 70-year period. The collection includes not only the final approved art that can be seen on many U.S. postage stamps, but also concept drawings that were submitted for consideration but never used. The collection is owned by the U.S. Postal Service and is on long-term loan to the National Postal Museum. The exhibition provides the museum an opportunity to raise awareness of the collection.

The original works will be displayed in six thematic categories relevant to New York City’s heritage. These categories—Baseball, Broadway, City Life, Icons, Politics and Music—will showcase a variety of art styles, mediums and colors used to create some of America’s most beautiful stamps. The artwork honors important citizens, events and iconic buildings that have defined New York City as one of the greatest cities in the world. The museum has designed a special pictorial postmark that will be available to visitors at the philatelic center inside the museum.

“Visitors will have the chance to see original artwork revealing the energy, history and impact of one of the world’s most beloved cities,” said Allen Kane, museum director. “By seeing New York City through some of its most recognizable facets—including its famous icons—visitors will reflect on their own connections to the city and appreciate the way postage stamps help share and celebrate our nation’s history, heritage and heroes.”

Six pieces of the artwork—one from each category—will be on display at the World Stamp Show–NY 2016. The special showing will take place May 28–June 4, 2016, at the Javits Center in New York City. The World Stamp Show carries on the tradition of the once-a-decade international exhibitions from the past 100 years. Held in the United States, the shows typically occur on a year ending with “6” or “7,” honoring the anniversary of America’s first postage stamps issued in 1847. Admission is free throughout all eight days of the show.

This exhibition captures the diversity of New York City and its significant contributions to America’s cultural heritage,” said Calvin Mitchell, exhibition curator. “New York City serves as a beacon of the American way.”

British Guiana One-Cent Magenta To Be Displayed at World Stamp Show–NY 2016

The Smithsonian’s National Postal Museum announces a special showing of the world’s most famous and valuable stamp—the British Guiana One-Cent Magenta—at the World Stamp Show–NY 2016. The special showing will take place May 28–June 3, 2016, at the Javits Center in New York City. Admission is free throughout all eight days of the show.

World Stamp Show–NY 2016 carries on the rich tradition of the once-a-decade international exhibitions from the past 100 years. Held in the United States, the shows typically occur on a year ending with “6” or “7,” honoring the anniversary of America’s first postage stamps issued in 1847. More than 250,000 stamp collectors—from beginner through advanced collectors—along with families and friends are expected to attend the event with the opportunity to view the world’s most valuable stamp.

The stamp, currently on display that the National Postal Museum through November 2017, is prominently showcased in the museum’s William H. Gross Stamp Gallery. Stuart Weitzman, renowned shoe designer and philanthropist, purchased the stamp for almost $10 million, and after considering several of the world’s most prominent philatelic museums, he selected the National Postal Museum as the venue for allowing its presentation and display to the world.

No postage stamp is rarer than the sole-surviving example of the British Guiana One-Cent Magenta. In January 1856, British Guiana issued a small number of one- and four-cent stamps for provisional use while the postmaster waited on a shipment of postage from England. Multiple copies of the four-cent stamp have survived, but the one-cent stamp now on display at the museum is the only one of its kind in the world. It generates headlines and breaks records every time it sells. It is the only major rarity absent from the Royal Philatelic Collection owned by Queen Elizabeth II.

“The One-Cent Magenta is the rarest of the rare, and may very well be the single most valuable object in the world, by weight,” said Allen Kane, director of the museum. “We are very pleased to offer a special showing of the stamp at World Stamp Show–NY 2016, providing an opportunity for hundreds of thousands of people to see this rare object.”

More than 200 stamp dealers from around the world will sell and buy stamps, covers, collections, postcards and a wide assortment of ephemera and philatelic items and supplies at the stamp show. Fifty postal bureaus from around the world, including the U.S. Postal Service and the United Nations Postal Administration, will offer their latest issues and host first-day stamp release ceremonies. Sixty specialty philatelic organizations, covering every facet of the stamp collecting hobby, will host society tables, hold meetings and offer educational seminars. In addition to the special showing of the One-Cent Magenta, many of the world’s greatest stamp rarities will be on display along with 4,000 exhibit frames of competitive exhibits vying for medals and prizes.

“The entire philatelic community is very grateful to Mr. Stuart Weitzman and the Smithsonian’s National Postal Museum for their generosity in making this stamp available to the public; it will be the first viewing at a U.S. Stamp Exhibition since 1986,” said Wade Saadi, World Stamp Show–NY 2016 president. “The stamp will be adjacent to the National Postal Museum super booth for the first seven days of the eight-day show.”

The world’s most famous and valuable stamp, the British Guiana One-Cent Magenta, is now on display at the Smithsonian’s National Postal Museum. Prominently showcased in the museum’s William H. Gross Stamp Gallery, the stamp will be on display until November 2017, the longest and most publicly accessible showing ever.

1856 British Guiana One-Cent Magenta (Obverse)

No postage stamp is rarer than the sole-surviving example of the British Guiana One-Cent Magenta. In January 1856, British Guiana issued a small number of one- and four-cent stamps for provisional use while the postmaster waited on a shipment of postage from England. Multiple copies of the four-cent stamp have survived, but the one-cent stamp now on display at the museum is the only one of its kind in the world. It generates headlines and breaks records every time it sells. It is the only major rarity absent from the Royal Philatelic Collection owned by Queen Elizabeth II.

1856 British Guiana One-Cent Magenta (Reverse)

“The British Guiana is the rarest of the rare,” said Allen Kane, director of the museum. “Having recently sold for almost $10 million, by sheer size and weight, it may very well be the most valuable single object in the world today.”

Every time it has sold, it has generated headlines and broken records. Perhaps people are drawn to its history of wealthy, secretive and sometimes troubled owners. Its origins in the far-flung holdings of the British Empire may lend it an irresistible air of romance. The stamp’s mystique may stem from its own elusiveness: It has spent most of its 160-plus years behind bank vault bars, appearing only on rare occasions. This display is the One-Cent Magenta’s longest and most publicly accessible exhibition ever.Printed in black ink on magenta paper, it bears the image of a three-masted ship and the colony’s motto in Latin: “we give and expect in return.” Noted for its legacy, the stamp was rediscovered by a 12-year-old Scottish boy living in South America in 1873, and from there passed through some of the most important stamp collections ever assembled.

Stuart Weitzman, renowned shoe designer and philanthropist, purchased the stamp and agreed to loan the stamp to the museum. After considering several of the world’s most prominent philatelic museums, he selected the National Postal Museum as the venue for allowing its presentation and display to the world.

“There was an unfilled square in my childhood stamp album, which I was sure would never be filled,” said Weitzman. “One should never say ‘never,’ and now after so many years in hiding, I felt it most appropriate to give stamp lovers and others the best opportunity to see this gem; and there is no better place than the Smithsonian’s National Postal Museum.”

Above: 1856 British Guiana One-Cent Magenta photograph using an infrared filter.This photograph of the 1856 One-Cent Magenta was taken using an infrared filter. This suppresses the stamp’s red surface, making the black printing more visible. Significant markings:

Damus Petimus Que Vicissim: British Guiana’s motto, derived from the Roman poet Horace. It means, “We give and we ask in return.”

Initials E.D.W.: Because the stamp could be replicated by anyone with access to printer’s type and a press, postal clerk Edmond D. Wight’s handwritten initials deterred counterfeiters.

Vignette: Shows a barque, a three-masted sailing ship common in the nineteenth century. Not meant to represent any particular ship, this illustration would have been available in many print shops.

Surface-colored paper: Created by adding a thin layer of color on top of a sheet of white paper. This method of coloring paper was cheap, but also prone to smudging.

Postmark: Dated April 4, 1856, it reads Demerara, but that is a county name. The stamp was printed, sold, and used at Georgetown, the colonial capital.

Corners: No one knows why the one-cent stamp’s rectangular corners were clipped. The four-cent exists in both clipped and intact examples.

Inscriptions: The stamp’s text reads British|Guiana.|Postage|One Cent. The Guianese dollar, consisting of one hundred cents, became the currency in 1839. One-cent stamps were for mailing newspapers; four-cent stamps were for letters. This may explain the one-cent stamp’s rarity; letters were more likely to be saved than newspapers.

Timeline of a rarity:

1838: The British colony of Demerara in South America is joined with neighboring possessions to form British Guiana.

1856: The postmaster at British Guiana’s capital, Georgetown, runs low on postage stamps and asks a local printer to prepare one-cent and four-cent stamps for provisional use until a shipment arrives from England. The One-Cent Magenta is used April 4.

1873: Twelve-year-old stamp collector Louis Vernon Vaughn discovers the One-Cent Magenta among some old papers at his uncle’s home in British Guiana. Unhappy with its appearance, he sells it for six shillings and buys a packet of prettier foreign stamps.

1878: The wealthy collector Count Philipp von Ferrary purchases the stamp for a sum thought to be 40 pounds sterling. It will not emerge from his vast Paris estate for nearly 40 years.

1917: Ferrary dies at the age of 67. His massive stamp collection is willed to the postal museum in Berlin. However, because France and Germany are at war, his stamp collections are seized a few years later by the French government as enemy property and sold to pay off German war reparations.

1922: American industrialist Arthur Hind pays $32,500 for the One-Cent Magenta, making it the most valuable stamp in the world.

1933: Hind dies, leaving a “dwelling, furniture, paintings but not my stamp collection” to his widow. Ann Hind sues her husband’s estate for the One-Cent Magenta, claiming he gave it to her before his death. The case is settled in her favor.

1940: Ann Hind exhibits the stamp in the British Pavilion at the New York World’s Fair, and shortly thereafter sells it to an anonymous buyer for $45,000.

1954: LIFE pictures the One-Cent Magenta in color for the first time. Its ownership remains shrouded in mystery, and the magazine claims that even the owner’s wife does not know he possesses the stamp.

1966: British Guiana achieves independence and becomes the Republic of Guyana.

1970: Frederick T. Small, an Australian living in Florida, is identified as the stamp’s owner when he sells it for $280,000 to a group of investors headed by Pennsylvania stamp dealer Irwin Weinberg, who spends the next decade promoting it with theatrical flair.

1980: An anonymous buyer, later revealed to be John E. du Pont, purchases the stamp for $935,000. Amateur wrestling replaces philately as du Pont’s main interest, and the stamp again disappears from public view for decades.

“Freedom Just Around the Corner: Black America from Civil War to Civil Rights” opened February 12 at the Smithsonian’s National Postal Museum. The museum’s first exhibition devoted entirely to African American history marks 150 years since the end of the Civil War and the abolition of slavery throughout the United States. The exhibition, open through Feb. 15, 2016, chronicles the African American experience through the perspective of stamps and mail.

The exhibition includes letters carried by enslaved Americans, mail sent by and to leaders of the civil rights movement and original artwork for numerous stamps issued by the United States Postal Service. More than 50 items from the museum’s collection, augmented by outstanding pieces on loan from other institutions and private collections, are on display in 16 themes and historical periods of time, including:

Slave-Carried Mail

1619–1865: Slave-Carried MailBefore the introduction of home mail delivery, slaves often carried letters to and from the post office. Slave-carried mail is usually identified by a notation—called an endorsement—that also served as a travel pass. These mail messengers could be an important source of news if they overheard discussions during their travels.

1775–1865: Abolition and the MailThe political ideals of the American Revolution—liberty, equality and freedom—inspired some Americans to rethink the morality of slavery. By 1804, reformers had succeeded in abolishing slavery in the northern states and turned all their efforts to attacking slavery in the South and opposing its spread in the West. Postage rates decreased from the 1830s through the 1850s, allowing abolitionists to distribute literature cheaply via the post office. Many southerners regarded these mail campaigns as an attack, aided and abetted by the federal government.

Civil War

1861–1865: Civil WarThe debate over slavery turned violent during the 1850s. Pro- and anti-slavery settlers in the Kansas Territory fought a yearlong running battle known as “Bleeding Kansas.” An abortive attempt at a slave rebellion in Virginia, followed closely by Abraham Lincoln’s election as President in 1860, made the Civil War inevitable. Although roughly 10 percent of Union forces were African American, they served in segregated units led by white officers.1863–1877: ReconstructionReconstruction refers to the process of reorganizing the southern states and readmitting them to the Union. It generally began once U.S. forces occupied a Confederate territory, and involved freeing local slaves and extending political rights to them. The rise of the Ku Klux Klan foreshadowed the difficulties that African Americans would face once the last federal forces withdrew from the south in 1877, leaving blacks vulnerable to segregationist “Jim Crow” laws.

Reconstruction

Military Segregation

1877–1964: SegregationWith the U.S. Army no longer suppressing the Klan and enforcing the political rights of freedmen, southern states introduced racial segregation and passed laws that made it difficult for black men to vote. Lynchings peaked between 1890 and 1910, and anti-lynching legislation became a perennial concern of new civil rights organizations such as the National Association for the Advancement of Colored People. Throughout this period, the post office and the military were the nation’s largest employers, and they reflected the racial tensions of the larger society.

1867–1972: Civil Rights MovementThe first generation of civil rights leaders was born in slavery or were the children of slaves. They emphasized education and self-reliance as the path to equality, founding local and national organizations to help fellow black Americans become educated, build businesses and establish social networks. The institutions they created trained and nurtured later generations of activist leaders.

Black Heritage Stamp Series

1978–Present: Black Heritage Stamp SeriesU.S. postage stamps were in use for nearly a century before Booker T. Washington became the first African American to appear on one. A handful of additional black history-related designs appeared between 1940 and 1978, when the U.S. Postal Service introduced the Black Heritage series. Today the Black Heritage issues are the longest-running U.S. stamp series.

Fifty years ago the Beatles invaded America with a musical sound and style that permanently influenced American music. Yet their transformative sound was influenced by a variety of distinctly American musical styles, such as Rhythm and Blues, Rock and Roll, and Country and Western. As a consequence of their of influence and popularity, the USPS issued a Beatles stamp as part of the 1960s Celebrate the Century (CTC) commemorative pane issued on September 17, 1999 in Green Bay, Wisconsin (and ,incidentally, the stamp design had been unveiled at a special unveiling ceremony in Liverpool, England on August 31,1999). The stamp topics selected for the CTC series were voted on by the general public, and the Beatles stamp was ranked sixth in the 1960s CTC series. (Public voting on CTC stamp topics began with the 1950 series.) The stamp was inspired by a song of the same name first released on the Beatles’ 1966 Revolver album. Carl Herrman, the stamp’s art director, hired Robin Shepard, an animator for the 1968 cartoon film the Yellow Submarine, to design the stamp’s artwork.

Robin Shepard’s stamp design was based on designs created by Heinz Edelman, a noted Czech artist and graphic arts designer, who worked with Shepard on The Yellow Submarine movie. Carl Herrman gave the blue background a dark to light gradation (above).

In 2003 the Citizen’s Stamp Advisory Committee (CSAC) expressed an interest in exploring stamps that could be released as a joint issue with England. These stamps would focus on topics that reflected the shared historical and cultural experiences between both nations. However, the joint issue was never approved and the design development never went beyond the preliminary proof phase. As part of this exploratory design effort, Carl Herrman designed several proofs focusing on eleven songs in the Beatles discography that were distinctly American (Honky Tonk Blues, Wabash Cannonball, Carolina Moon, Kansas City and Memphis, Tennessee); influenced by American music styles (Rocky Raccoon, a country and western- inspired ballad and Yer Blues, a blues oriented song ); or based on their experiences while playing or living in America (Blue Jay Way, Get Back, Honey Pie and Bungalow Bill).

Proof 2

Proof 3

Proofs 2 and 3 (above) were based on artwork previously released or by artists inspired by the Beatles’ music. Four of the Beatles’ songs (Honey Pie, Bungalow Bill, Rocky Raccoon and Yer Blues) selected for stamp designs that appeared on the Beatles’ White Album released in 1968. With the exception of the song Get Back (which had a drug oriented theme, and was recorded with Billy Preston, an American, on electric keyboards), most of the stamp designs were for songs not regarded as commercial successes.

Figure 4

Given the 2003 policy of the CSAC and the USPS regarding the appearance of living people and non-Americans on US stamps, it is certain that this pane would have experienced further revisions. The Beetles portrait shown in Figure 4 was based on a photograph taken by the noted photographer Micheal Cooper, who provided the photographs used on the seminal cover designed for the Sgt Pepper album.

Figure 5

Figure 5 (above) is a proof for the Yer Blues stamp not included as part of the 10 stamp pane proofs. The design is based on artwork created by Alan Aldridge, an English graphic art designer, who authored the lavishly illustrated book “The Beatles: Illustrated Lyrics."

Figure 6

Note the “Beetles” spelling on these proofs. The proof for Figure 6 (above) was based on a Peter Max- inspired design used by Herrman when he prepared preliminary designs for the Yellow Submarine Stamp. Figure 7 (below) was based on artwork prepared by Seymour Chwast, an American graphic designer, and inspired by a song whose controversial lyrics were loosely based on true events that happened in India.

Figure 7

Recently, CSAC and The Postmaster General have revised criteria used to determine subjects to be honored on US postage. These changes have allowed the USPS to honor subjects—such as the Harry Potter movie series—that would have been unthinkable a few years ago. The USPS is considering a stamp commemorating the life of John Lennon. A stamp for John Lennon would be quite appropriate given that his comtempories such as Jimmie Hendrix has been honored with a stamp and Janis Joplin is scheduled to be commemorated on a stamp later this year. The approval of John Lennon for a commemorative stamp would signify the Postal Service continuing acknowledgement of the enduring influence the Beatles had on American Popular Music.

The Catherine Manning Papers and Documents Finding Guide is now online. Catherine Lemmon Manning (1881-1957) curated the National Philatelic Collection for nearly thirty years, longer than anyone else in its history. Under Manning’s leadership, the philatelic collection became the largest in the National Museum’s Division of History. Throughout her life, she received many honors, including the first woman outside the sciences to achieve the title “Assistant Curator” at the Smithsonian and the first woman elected to office in the American Philatelic Society (vice president, 1935-1937). The collection includes twelve file boxes of materials, including manuscripts, exhibit pages, photographs of stamp sources, and correspondence. “The documents about women in the stamp collecting hobby and their organizations are not replicated anywhere else. This is a treasure trove of history that was nearly lost. We are grateful to her daughter-in-law Ruby Lee Robertson for this donation,” remarked Dr. Cheryl R. Ganz, Chief Curator of Philately.

Marilyn Barth worked as a Behind-the-Scenes volunteer at the National Postal Museum to organize the Catherine Manning Papers and Documents. Although she had previously volunteered as a docent at the Smithsonian’s NPM and Freer Gallery of Art and Arthur M. Sackler Gallery, she had never worked on an archival project at the Smithsonian. Nonetheless, the project did not intimidate her. “I have always been interested in organizing,” she says, “and making things accessible.” Her background in library science had prepared her, and how fortuitous for the NPM! After a career as a computer trainer, she attended Catholic University’s School of Library and Information Science and then worked in the University’s Rare Books and Special Collections department. As collectors often report about themselves, Marilyn flirted with stamp collecting as a child and then moved on to other interests. The Catherine Manning project satisfied her desire to bring order to boxes of disarrayed papers and to make them available to researchers. The philatelic holiday cards Manning received particularly delighted Marilyn, as did realizing the significant position Catherine Manning held in philatelic organizations and in the evolution of the Smithsonian’s National Philatelic Collection.

The Catherine Manning Papers and Documents are now available to researchers by appointment with the Philately Department chair at the National Postal Museum.

The Shirley Chisholm Forever Stamp was designed by art director Ethel Kessler and features a color portrait of Chisholm by artist Robert Shetterly. Painted in acrylic on wood, the portrait is one of a series of paintings by Shetterly titled “Americans Who Tell the Truth.”

On Friday, January 31, 2014 the United States Postal Service unveiled a limited-edition Forever Stamp honoring the accomplishments of Shirley Chisholm. Her stamp becomes the 37th stamp issued in the Black Heritage Series. The ceremony was conducted at the spacious Brooklyn Borough Hall in Brooklyn, New York, which was a fitting location for the event since she was born in Brooklyn and advocated for its residents most of her adult life. The ceremony attracted members of the Congressional Black Caucus and several prominent New York City community leaders and politicians. And judging from the reactions of the audience during some of the laudatory speeches, it was clear that the citizens of Brooklyn still remembered her as one of their revered public servants.

Ceremony program envelope with two first day of issue postmarks: A pictorial and a colorful postmark. The red postmark bears the identity of the Shirley Chisholm Post Office located in Brooklyn, New York.

Pictorial ceremony program prepared by William Howard and the staff of The Shirley Chisholm Cultural Institute for Children, Inc.

Shirley Chisholm Background and Career

Chisholm, the daughter of Caribbean immigrants, was born Shirley Anita St. Hill in Brooklyn on November 30, 1924. She spent part of her childhood with her maternal grandmother in Barbados, where she attended elementary school. She graduated from Brooklyn College in 1946 and became an early childhood educator.

While pursuing a graduate degree at Columbia University, she met and married Conrad Chisholm.

Working as an educator in Brooklyn and as an early childhood development consultant in the New York City government, she became familiar with problems associated with poor urban communities, an experience that led her to become involved in Brooklyn politics. In 1964 she was elected to the New York State Assembly, representing Bedford-Stuyvesant and other low- income Brooklyn communities. She served in the state legislature until 1968 when she decided to run for the US Congress. During her congressional campaign, beginning with the Democratic primary, her motto was “Unbought and Unbossed,” one of the slogans she used throughout her political career. With her win she became the first African American women in Congress. With the help of a coalition of African Americans, West Indians, Puerto Ricans, and Jewish voters, she served in Congress for seven terms from 1968-1983. She did not seek reelection to her eighth term because her second husband, Arthur Hardwick, had been injured in a car accident.

As a Congresswoman she was an outspoken liberal advocate for women, minorities and the poor. She supported improved employment and education programs, expansion of day care and the Women and Infant Care (WIC) Program. She was a founding member of the Congressional Black Caucus and the National Organization for Women and one of four founders of the National Women’s Political Caucus.

A campaign button distributed at the stamp unveiling ceremony. The souvenir button is reminiscent of her history making presidential campaign.

During her second term, she campaigned for the Democratic Party’s 1972 presidential nomination and became the first African American women to run for the presidency. Her campaign moniker was known as the “Chisholm Trail.” With a shoe string budget of $300,000 and a coalition of students, women, and minority groups serving as her campaign volunteers, she entered in 11 state primaries and campaigned in several states. At the 1972 Democratic Convention she received 151 delegation votes.

After leaving Congress she co-founded the National Political Congress of Black Women, which represented the concerns of African American women. She taught politics and women’s studies at Mount Holyoke College in Massachusetts and Spelman College in Atlanta.

President William Clinton nominated Chisholm to be the U.S. Ambassador to Jamaica, but she declined due to ill health. She died on January 1, 2005 at her home in Ormond Beach, Florida.

Reflecting on her own legacy and how she wanted to be remembered, Chisholm said, “When I die, I want to be remembered as a woman who lived in the 20th century and who dared to be a catalyst of change. I don’t want to be remembered as the first black woman who went to Congress. And I don’t even want to be remembered as the first woman who happened to be black to make the bid for the presidency. I want to be remembered as a woman who fought for change in the 20th century. That’s what I want.”

Ceremony program with eight signatures.

The back of the program provides a summary of her career accomplishments and a copy of her portrait. Painted by Al Johnson this beautiful life size portrait hangs in the Brooklyn Borough Hall.